The Independent's Scores

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For 588 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Dune: Part One
Lowest review score: 20 Snow White
Score distribution:
  1. Positive: 287 out of 588
  2. Mixed: 275 out of 588
  3. Negative: 26 out of 588
588 movie reviews
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  1. Air
    It’s hard to land on a reason for any of this to exist beyond a goosing up of Nike’s own image.
  2. The Super Mario Bros. Movie
    It’s hard to demand all that much from a Mario Bros film when its source material has been historically devoid of plot, but shouldn’t we be allowed to demand a little more than mere competency?
  3. Dungeons & Dragons: Honor Among Thieves
    In a blockbuster landscape that’s become depressingly monotonous, it’s a blast of fresh air straight from a spellcaster’s staff.
  4. Murder Mystery 2
    No one involved in Murder Mystery 2 seems to have worked with any real sense of direction, since the film is more than happy to let Sandler and Aniston take the steering wheel. There’s an easy chemistry to the pair.
  5. A Good Person
    A Good Person has a tendency to approach moral complexity as a checklist.
  6. John Wick: Chapter 4
    Even at its nearly three-hour runtime, John Wick: Chapter 4 commits so nobly to its self-seriousness that it almost borders into camp. And yet, the franchise possesses both the self-confidence and the ingenuity to earn its boldness.
  7. Rye Lane
    We’re constantly reminded that there are hundreds more stories weaving in and out of these streets, existing beyond Yas and Dom’s. This romance is special. But it also sort of isn’t. It’s exactly the kind of hope the most lovelorn in Rye Lane’s audience might be looking for.
  8. Pearl
    Pearl’s torment – empathetic, frightening, and ludicrous all at the same time – is believable largely because Goth single-handedly wills it to be.
  9. Shazam! Fury of the Gods
    Fury of the Gods lands in the frustrating middle: a film that isn’t without promise, but feels far too messy and corporatised to have any real affection for.
  10. Champions
    When it comes to “The Friends”, there’s some great comic timing – Iannucci, Tevlin, and Metcalfe are particular stand-outs – but it’s hard to shake how frequently these jokes are written at their expense.
  11. Scream VI
    It’s both wholly satisfying and ridiculously fun.
  12. Close
    Hushed glances between estranged friends give way to maximalist drama and heavy-handed symbolism, as if the everyday horror of growing up needs literal horror to be cinematic.
  13. Superpower
    Penn and Kaufman’s film about him is sprawling and uneven but also heartfelt and inspiring. It’s informative but has an immediacy which you rarely find in conventional news reports. The documentary leaves you with admiration not only for its subject, the comedian turned wartime leader, but for the doughty Hollywood star who put himself in the eye of the storm too.
  14. Luther: The Fallen Sun
    The budget’s been upped considerably. Hollywood’s own Andy Serkis and Cynthia Erivo have been air-lifted in for support. And it’s fun, in the patently ridiculous way these sorts of zhuzhed-up thrillers tend to be.
  15. Creed III
    Man of the moment Jonathan Majors somehow manages to out-charisma both Michael B Jordan and Tessa Thompson here.
  16. Cocaine Bear
    Cocaine Bear is a film worthy of its title, and perfectly constructed to feel like the kind of cult horror movie you’d find on a dusty VHS tape somewhere in a stoner’s basement. It’s bloody and grotesque, at times quite dark, but also surprisingly endearing.
  17. What's Love Got to Do with It?
    The tone is distinctly feelgood, but the film, directed by Shekhar Kapur, thoughtfully explores the different ways that relationships can be built, and what cultures can teach one another.
  18. Infinity Pool
    In its morbid and provocative way, the film is often funny but it’s thought-provoking and very creepy too.
  19. The Son
    The Son is an ugly, blaring question mark of a film, and inexplicably terrible considering the talent involved.
  20. Ant-Man and the Wasp: Quantumania
    Thankfully, Quantumania coughs up a decent amount of the mania promised in its title – it’s done a far better job, at least, than last year’s Doctor Strange in the Multiverse of Madness, which was miserably sane.
  21. Women Talking
    Even if Sarah Polley’s superlative work doesn’t get the plaudits or the audience it deserves, it should stand to have a far greater legacy. This is the kind of cinema that endures – not just as a great work of art (although it is that), but as something that moves us all forward.
  22. Blue Jean
    Oakley’s film ends on an ambiguous though hopeful note. Usually, this sort of conclusion risks coming across as a little mechanically inspirational. But Jean is a complicated sort of hero, full of indecision and regret. It’s something bracingly captured by McEwen, who plays her as someone in a perpetual state of fight-or-flight.
  23. Magic Mike's Last Dance
    The aggressive air-humping of its past films is replaced by ballet and interpretive dance in this sanitised final instalment.
  24. Puss in Boots: The Last Wish
    The Last Wish is visually gorgeous with an attention to detail you might not expect given it’s a sequel to a spin-off of a two-decade-old film.
  25. Knock at the Cabin
    With barely a twist to speak of (at least in the traditional sense), his latest film Knock at the Cabin feels like a repudiation of the past.
  26. Pamela, a love story
    Pamela, A Love Story may not feel particularly revelatory, but its sheer pathos is undeniable.
  27. Plane
    Plane is stifled by just how ordinary it is, and how closely it hews to the standard tropes of action films with longer, more descriptive – yet less ridiculous – titles.
  28. You People
    You People carries the unresolved, disjointed tension of a sitcom that’s been stretched to the two-hour mark.
  29. Alice, Darling
    With Alice, Darling, director Mary Nighy (daughter of actor Bill) delicately exposes how internalised and invisible the experience of narcissistic abuse can be.
  30. The Fabelmans
    Spielberg’s motivation for The Fabelmans has little to do with cementing his own myth – it’s a more tender, more bittersweet journey towards the realisation that, though the camera never lies, what it shows us can be hard to swallow.
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